Relevant bibliographies by topics / Philosophy of Art and Aesthetics

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Philosophy of Art and Aesthetics'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Philosophy of Art and Aesthetics"

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Erjavec, Aleš. "Art and aesthetics: Three recent perspectives." SAJ - Serbian Architectural Journal 4, no. 2 (2012): 142–59. http://dx.doi.org/10.5937/saj1202142e.

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The author sketches the development of the relationship between art and aesthetics in the recent past. As his starting point, he takes the position that artists established in the sixties in relation to philosophical aesthetics. In his view 1980 represented a historical threshold as concerns transformations both in art and its philosophy. He then discusses three theories of art and aesthetics - Nicolas Bourriaud's "relational aesthetics" from the nineties, Jacques Rancière's aesthetic project from the following decade, and the very recent "theory of contemporary art" developed by Terry Smith. In author's opinion, these three aesthetic or art theories not only disprove the pervasive opinion that contemporary aesthetics understood as philosophy of art is once more separated from contemporary art and the art world, but also manifest their factual import and impact in contemporary discussions on art.
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Mankovskaya, Nadezhda B. "Maurice Maeterlinck’s Philosophy of Art." Journal of Flm Arts and Film Studies 10, no. 1 (March 15, 2018): 76–90. http://dx.doi.org/10.17816/vgik10176-90.

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In the article the key ideas of Maurice Maeterlincks philosophy of art, inspired by the spirit of German idealism, European Romanticism and also mysticism and occultism are considered. On this basis his own original philosophical-aesthetic and artistic views which have laid down in a basis of philosophy of art of symbolism crystallize. The main problems interesting for Maeterlinck in this sphere are metaphysics of art and its philosophical-aesthetic aspects: silence, hidden, destiny, external and internal, madness, mystical ecstasy; essence of artistic image and symbol in art; aesthetic categories of beauty, sublime, tragical, comic; aesthetic ideal; nature of art novelty; relations between aesthetics and ethics. Artisticity, symbolization in art, suggestion, idealization, spirituality as the main attributes of authentic art, stylized poetic generalizations, laconism of a plot - these are the basis of Maeterlincks poetic world and his art-aesthetic principles which have become the art base for symbolist philosophy. Maeterlinck paid special attention to the art-aesthetic aspects of the art of theatre connected with creative credo of the playwright, his skill. He was also deeply engaged into exploration of the art influencing power as well as questions of aesthetic perception, empathies, and art hermeneutics. The major thrust of his philosophical-aesthetic research was that of an expectance of the approaching era of great spirituality and supreme mission of the artist-theurgist in it - in this respect Maeterlinck going his way, had a lot of common with the ideas of Paul Claudel, let alone representatives of Russian theourgistic aesthetics. In his poeticized meditations over the future of artistic culture Maeterlinck quite often acts as a teacher of life and, like described by him bees, collecting honey of hopes.
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Torsen, Ingvild. "Philosophy of Art after Aesthetics." Heidegger Circle Proceedings 42 (2008): 46–54. http://dx.doi.org/10.5840/heideggercircle2008426.

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Rejimon, P. K. "EXPLORING PHILOSOPHY OF ART IN INDIAN APPROACH." International Journal of Research -GRANTHAALAYAH 5, no. 9 (September 30, 2017): 217–23. http://dx.doi.org/10.29121/granthaalayah.v5.i9.2017.2234.

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Art is one of the cultural activities of man through which he reaches his ideas, values, feelings, aspirations and reactions to life. The generic purpose of art is to provide aesthetic experience and enjoyment to the recipient. Art give outlet to the artist himself to reveal and express his innermost aspirations, feelings, sentiments and also the impressions of life. Aesthetics, the branch of philosophy devoted to conceptual and theoretical enquiry into art. Philosophy of Indian art is concerned with the nature of art and the concepts in terms of which individual work of art interpreted and evaluated. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning of philosophy both in the East and West and it continues to the present. In India, philosophy of art is designated as saundaryasastra, which is evolved with an emphasis on inducing special spiritual or philosophical states in the audience or with representing them symbolically. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning. The rich tradition of Indian aesthetics can be traced back to the second century BC with Bharata’s Natyasastra, the foundation text on Saundaryasastra. Indian aesthetics is evolved with an emphasis on inducing special spiritual or philosophical states in the audience.
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Dai, Chuang. "Philosophical-aesthetic reflection in China in the century: Wang Guowei and Zong Baihua." Философская мысль, no. 12 (December 2020): 15–29. http://dx.doi.org/10.25136/2409-8728.2020.12.34614.

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  This article is dedicated to examination of the philosophical-aesthetic reflection in China in the XX century, and the impact of European aesthetics upon the development and transformation of the traditional Chinese aesthetics. The article employs the method of historical and cultural with elements of structural analysis of aesthetic text of the modern Chinese philosophers. In the XX century, a number of Chinese thinkers made attempts of reforming the traditional Chinese aesthetics, complementing it with the viewpoint of European philosophy. The article examines the paramount aesthetic thoughts of the modern Chinese philosophers Wang Guowei and Zong Baihua, and determines the impact of European philosophy upon them. The scientific novelty of this study lies in assessing the impact of the concepts of European aesthetics upon self-reflection and development of Chinese aesthetics in the context of cross-cultural problematic. It is demonstrated that Chinese modern aesthetics in many ways retains its connection with the tradition, which determines its specificity and imparts peculiar semantic symbolism. The conclusion is made that in the XX century, Chinese philosophers sought to complement the existing traditional Chinese reflection on art, which is based mostly on the ideas of Taoism and Buddhism, with what can be referred to as the Western viewpoint, associated with a scientific approach and scientific interpretation. Another vector in the area of humanistic understanding of the phenomenon of art was related to the attempts of interpretation of the European aesthetic thought from through the prism of Chinese traditional philosophy. The philosopher Wang Guowei tried to incorporate the European aesthetics into the scientific problematic of China. The philosopher Zong Baihua wanted to synthesize the Chinese and European aesthetic theories, and create what he believed is the modern Chinese aesthetics.  
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Zangwill, Nick. "AESTHETICS AND ART." British Journal of Aesthetics 26, no. 3 (1986): 257–69. http://dx.doi.org/10.1093/bjaesthetics/26.3.257.

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Slater, H. "ART AND AESTHETICS." British Journal of Aesthetics 37, no. 3 (July 1, 1997): 226–31. http://dx.doi.org/10.1093/bjaesthetics/37.3.226.

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Shapshay, Sandra. "Schopenhauer’s Aesthetics and Philosophy of Art." Philosophy Compass 7, no. 1 (January 2012): 11–22. http://dx.doi.org/10.1111/j.1747-9991.2011.00453.x.

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Ibrahim Al asqha, Shatha. "Islamic Art Aesthetics and modern philosophy." المجلة العلمیة لجمعیة امسیا – التربیة عن طریق الفن 7, no. 26 (April 1, 2021): 1318–87. http://dx.doi.org/10.21608/amesea.2021.178608.

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Wilkoszewska, Krystyna. "Aesthetic experience in the nature-culture continuum: The biological dimension of pragmatist aesthetics." SAJ - Serbian Architectural Journal 7, no. 2 (2015): 47–56. http://dx.doi.org/10.5937/saj1501047w.

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In 1930 American pragmatist philosopher John Dewey introduced into aesthetics a relatively new idea of experience. Living in modern time Dewey offered non-modernist way of thinking which especially in the field of aesthetics seems to be more adequate to our time than the modern ideas of aesthetic experience and autonomy of art. After short presentation of Dewey's philosophy of aesthetics I would like to show its inner dimensions that are fully developed today: ecological, evolutionary and transhuman tendencies, experience as interaction, soma and sensuous perspective.
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Dissertations / Theses on the topic "Philosophy of Art and Aesthetics"

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Thompson, Seth Aaron. "Art Unfettered: Bergson and a Fluid Conception of Art." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248388/.

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This dissertation applies philosopher Henri Bergson's methodology and his ideas of duration and creativity to the definitional problem of art, particularly as formulated within analytic aesthetics. In mid-20th century, analytic aesthetics rejected essentialist definitions of art, but within a decade, two predominant definitions of art emerged as answers to the anti-essentialism of the decade prior: functionalism and proceduralism. These two definitions define art, respectively, in terms of the purpose that art serves and in terms of the conventions in place that confer the status of art onto artifacts. Despite other important definitions (including historical and intentionalist definitions), much of the literature in the analytic field of aesthetics center on the functional/procedural dichotomy, and this dichotomy is an exclusive one insofar as the two definitions appear incompatible with each other when it comes to art. I use Bergson's methodology to demonstrate that the tension between functionalism and proceduralism is an artificial one. In turn, abandoning the strict dichotomy between these two definitions of art opens the way for a more fluid conception of art. Using Bergson's application of duration and creativity to problems of laughter and morality, I draw parallels to what a Bergsonian characterization would entail.
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Hanson, Louise Mary. "Conceptual art : what is it?" Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:1ce65d49-6864-4a29-8600-5c54e405ef5e.

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Conceptual Art (henceforth CA) has the peculiar status of being at once a neglected topic in philosophical aesthetics, and one on which a degree of philosophical weight disproportionate to the attention it has received is placed. On the one hand it is frequently mentioned by philosophers as a problematic case, one that general theories of art have difficulty dealing with, but on the other, there is a notable lack of philosophical research taking CA as its focus. It is largely taken as a given that CA is radically different from other art in various ways and thus poses problems for some of the general statements about art that philosophers tend to make. But it is striking that these claims are not, for the most part, grounded in a thorough investigation into the nature of CA. The purpose of my research is to conduct such an investigation; to address the question of what CA is, and what makes it different from other art, in order to come to a clearer view of what particular philosophical issues or difficulties CA raises for the philosophy of art. In existing literature on CA, it is standard to take CA’s distinctiveness to have something to do with the importance of ‘ideas’. I investigate what could be meant here by ‘idea’, and identify two broad schools of thought as to what form this emphasis on ideas in CA takes: Priority Accounts, which claim that in CA ideas are the most important aspect of the work and Constitution Accounts, which claim that works of CA are ideas. I identify serious problems for Constitution Accounts, in general, and for some kinds of Priority Account. I then put forward a new kind of Priority account which I think overcomes the problems faced by its rivals.
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Rampley, Matthew. "Dialectics of contingency : Nietzsche's philosophy of art." Thesis, University of St Andrews, 1993. http://hdl.handle.net/10023/14775.

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This thesis examines the function of art in Nietzsche's philosophy. Its primary concern is with Nietzsche's turn to art as the means to counter what he terms metaphysics. Metaphysics is a metonym for the system of beliefs sustaining our culture whereby human judgements about the world are perceived as uncovering an objective truth antecedent to those judgements, with an implicit faith in the possibility of exhausting the totality of these antecedent truths. This thesis consequently has two principal strands. The first is to analyse Nietzsche's criticism of metaphysics. The second is to explore the way in which, using a specific understanding of art, Nietzsche attempts to reconcile extreme scepticism towards all forms of human knowledge with a continued belief in their necessity. The thesis argues that Nietzsche lays an importance on art as providing an aesthetic education to replace the misguided theoretical orientation of metaphysics. Nietzsche criticises metaphysics for its inability to recognise that its interpretations are mere interpretations, that logic and the rational serve as means to make the world meaningful from the human perspective. My thesis explores how he sees art, and in particular the tragic, as constituting a mode of world interpretation which declares its status as such. I argue that for Nietzsche this is crucial inasmuch as a failure to recognise the contingency of our interpretations results in a refusal to give value in any interpretations. For Nietzsche the advent of the Modern age heralds the danger of such refusal, and hence I argue that his turn to art is a response to the specifically Modern temptation to descend into mere cynical Nihilism.
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Fidalgo, Christopher J. "Art, Gaut and Games: the Case for Why Some Video Games Are Art." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/philosophy_hontheses/5.

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In this paper, I argue that there are some video games which are art. I begin my paper by laying out several objections as to why video games could not be art. After laying out these objections, I present the theory of art I find most persuasive, Berys Gaut’s cluster concept of art. Because of the nature of Gaut’s cluster concept, I argue that video games, as a medium of expression, do not need to be defended as a whole. Rather, like all other media of expression, only certain works are worthy of the title art. I then introduce and defend several games as art. After, I return to the initial objections against video games and respond in light of my defended cases. I conclude that video games, as a medium of expression, are still growing, but every day there are more examples of video games as art.
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Weis, Kristin K. "Art as Negation: A Defense of Conceptual Art as Art." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461602608.

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Collins, Lorna Patricia. "Making sense : art and aesthetics in contemporary French thought." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610086.

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Moore, Gregory. "Art and action : exploring postmodern aesthetics." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1456.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
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Kieran, Matthew Laurence. "The nature and value of art." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/14807.

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This thesis examines the nature and value of art. It is primarily concerned to advance an argument which makes sense of the significance we ordinarily afford art, rather than rendering it merely aesthetic and thus cognitively trivial. Contrary to philosophical orthodoxy, it is argued that 'art' does not have two distinct senses. Rather, we should understand art as an inherently evaluative, evolving cultural practice. Thus, I argue, 'art' is essentially a cluster concept. I consider an account of art according to which it is in the pleasure art affords, that its value lies. However, though we derive pleasure even from apparently unpleasant artworks, the mark of art's value lies elsewhere. That is, the pleasure we derive from art is the result of an artwork's being of value in some other way. Through critically assessing the standard accounts of art's value, I argue that art's pleasures are primarily cognitive. Furthermore, I argue, the cognitive value of art arises primarily from the engagement of our imagination and interpretation of artworks. That is, we enjoy the imaginative activity of engaging with artworks and the promotion of particular imaginative understandings. Furthermore, as imaginative understanding is of fundamental importance in grasping the nature of our world and others, art may have a distinctive significance. That is, art may afford insights into and thus promote our imaginative understandings of our world and others. Thus, through the promotion of imaginative understanding, art may cultivate our moral understanding. Therefore, art is of profound significance and import.
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Lindley, Anne Hollinger. "Relating to relational aesthetics." Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.

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This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.
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Farinas, Rebecca Lee. "The Aesthetic Agency of Popular Culture in the Writings of Pierre Bourdieu and Arthur C. Danto." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/949.

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ABSTRACT The Aesthetic Agency of Popular Culture: In the Writings of Pierre Bourdieu and Arthur C. Danto Rebecca L. Farinas, Ph.D. Pierre Bourdieu and Arthur C. Danto are significant interlocutors in the areas of aesthetics and popular culture. This study affirmatively answers a question raised by both writers, that popular culture puts forward a strong enough aesthetic to change elitist views of society, which concern people's disrespect for the importance of commonplace and everyday experiences. Bourdieu approaches the problem by applying sociology to aesthetics, and Danto raises the question through a view of aesthetics based on his philosophy of culture, which he begins to cultivate in his late writings. Each approach is important, in that firstly through looking at culture through sociology we can omit highbrow abstractions of some philosophies, and look evidentially at the dynamics of aesthetic agency. Secondly, thinking about culture philosophically, we can reveal how people's feelings and actions make meaningful and ethically valuable aesthetic representations. Comparing the two perspectives, we find two different views of how contemporary societies change for the better through individual and communal aesthetic actions. It is Danto's theory of culture, however, which answers the question of the agency of popular culture fully, because his theory of the third realm of beauty is constituted through communal values, which grow out of people's relationships as they interact through everyday, commonplace experiences. Bourdieu and Danto's writings converge on many points, and we can notice several similarities and one major difference in their philosophies. The main similarities are; that feelings and perceptions change social conditions through ideas and actions, that popular culture is facilitated by people's common relationships with one another, and that people who contribute to a commonplace ethos of mutual respect and openness re-possess popular culture with agency, in contrast to a weak sense of culture that is controlled by abstracted concepts and elitist judgements. Danto's distinction in aesthetics through value making, is especially important because in our contemporary, interconnected, global world popular culture needs to do more than merely create nationalistic standards and static traditions. For Danto, people develop a more creative and fair world through understanding and acting on their commonality of inner beauty. Inner beauty is an aesthetic spirit of virtues made through our reciprocal participation in our cultural representations, and we use this agency to propagate our belief in each other as unique and caring human beings.
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Books on the topic "Philosophy of Art and Aesthetics"

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Fløistad, Guttorm, ed. Aesthetics and Philosophy of Art. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5069-5.

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Systematic aesthetics. Gainesville: University Press of Florida, 1995.

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Aesthetics. London: UCL Press, 1997.

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Brown, Julia Prewitt. Cosmopolitan criticism: Oscar Wilde's philosophy of art. Charlottesville: University Press of Virginia, 1997.

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Taubes, Timothy. Art & philosophy. Buffalo, N.Y: Prometheus Books, 1993.

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Aesthetics and the philosophy of art. 2nd ed. Lanham: Rowman & Littlefield Publishers, 2010.

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Stecker, Robert. Aesthetics and the philosophy of art. 2nd ed. Lanham: Rowman & Littlefield Publishers, 2010.

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Stecker, Robert. Aesthetics and the philosophy of art. 2nd ed. Lanham: Rowman & Littlefield Publishers, 2010.

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Stecker, Robert. Aesthetics and the philosophy of art. 2nd ed. Lanham: Rowman & Littlefield Publishers, 2010.

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Carroll, Noël. Philosophy of Art. London: Taylor & Francis Group Plc, 2004.

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Book chapters on the topic "Philosophy of Art and Aesthetics"

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Hegel, G. W. F. "The Philosophy of Fine Art." In Aesthetics, 496–500. 4 [edition]. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315303673-100.

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Welsch, Wolfgang. "Aesthetics beyond aesthetics." In Aesthetics and the Philosophy of Art, 3–24. Abingdon, Oxon; New York: Routledge, 2021.: Routledge India, 2021. http://dx.doi.org/10.4324/9781003094401-2.

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Rosenbaum, S. P. "The Art of Clive Bell's Art." In Aesthetics and Philosophy of Art, 217–36. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5069-5_10.

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Godlovitch, Stan. "Aesthetes, critics, and the aesthetic attitude*." In Aesthetics and the Philosophy of Art, 78–90. Abingdon, Oxon; New York: Routledge, 2021.: Routledge India, 2021. http://dx.doi.org/10.4324/9781003094401-7.

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Diffey, T. J. "Art and goodness." In Aesthetics and the Philosophy of Art, 91–104. Abingdon, Oxon; New York: Routledge, 2021.: Routledge India, 2021. http://dx.doi.org/10.4324/9781003094401-8.

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Hospers, John. "Art and morality*." In Aesthetics and the Philosophy of Art, 129–53. Abingdon, Oxon; New York: Routledge, 2021.: Routledge India, 2021. http://dx.doi.org/10.4324/9781003094401-12.

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Sörbom, Göran. "Imitation and art*." In Aesthetics and the Philosophy of Art, 182–93. Abingdon, Oxon; New York: Routledge, 2021.: Routledge India, 2021. http://dx.doi.org/10.4324/9781003094401-15.

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Ross, Stephanie A. "Aesthetic qualities, aesthetic experience, aesthetic value*." In Aesthetics and the Philosophy of Art, 53–67. Abingdon, Oxon; New York: Routledge, 2021.: Routledge India, 2021. http://dx.doi.org/10.4324/9781003094401-5.

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Mccormick, Peter. "Objective Aesthetic Experiences." In Aesthetics and Philosophy of Art, 253–65. Dordrecht: Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-5069-5_12.

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Kimmerle, Heinz. "Living (with) Art: The African Aesthetic Worldview as an Inspiration for the Western Philosophy of Art." In Intercultural Aesthetics, 43–53. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-1-4020-5780-9_4.

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Conference papers on the topic "Philosophy of Art and Aesthetics"

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Polmeer, Gareth. "Sublating Time: Hegel’s speculative philosophy and digital aesthetics." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.49.

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He, Shuqing. "Beauty and Art in the Oriental Philosophy. An Aesthetic Study in the Traditional Chinese Philosophy." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.20.

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Zhang, Pengju, and Hai Liang. "Analytical Philosophy to Philosophical Analysis: Arthur C. Danto’s Analytical Approach to the Formation of Aesthetic Thought." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.039.

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Яшин, Б. Л. "Philosophical Disciplines in Pedagogical Higher Education as the Foundation of the General Culture of the Future Teacher." In Современное образование: векторы развития. Роль социально-гуманитарного знания в подготовке педагога: материалы V международной конференции (г. Москва, МПГУ, 27 апреля – 25 мая 2020 г.). Crossref, 2020. http://dx.doi.org/10.37492/etno.2020.60.58.009.

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в статье раскрывается роль философии и других философских дисциплин в системе подготовки будущего учителя. Утверждается, что одним из результатов реформ в области высшего образования стало существенное сокращение количества аудиторных часов, отводимых на курс философии, а изучение логики, этики и эстетики, способствующих формированию у будущего учителя высокой культуры мышления, «гражданственности, патриотизма, духовности, гуманности и других человеческих качеств», поставлено в зависимость от предпочтений руководителей образовательных программ. Показывается, что одной из серьезных проблем в преподавании философии остается негативное отношение к этой дисциплине учащихся и преподавателей профильных дисциплин вузов. Формулируются наиболее важные задачи, решение которых могло бы существенным образом изменить ситуацию: повышение активности преподавателей философии на факультетах и в вузе в целом, поиск и использование новых эффективных форм и средств преподавания, внедрение в процесс обучения компьютерных технологий, интернета, укрепление связей преподавателей философии и профильных дисциплин. the article reveals the role of philosophy and other philosophical disciplines in the system of training a future teacher. It is stated that one of the results of reforms in the field of higher education was a significant reduction in the number of classroom hours allocated to the course of philosophy, and the study of logic, ethics and aesthetics that contribute to the formation of a future teacher of a high culture of thinking, «citizenship, patriotism, spirituality, humanity and other human qualities», is dependent on the preferences of educational program managers. It is shown that one of the major problems in teaching philosophy is the negative attitude of students and teachers of specialized disciplines of higher education institutions to this discipline. The most important tasks are formulated, the solution of which could significantly change the situation: increasing the activity of philosophy teachers at the faculties and in the University as a whole, searching for and using new effective forms and means of teaching, introducing computer technologies, the Internet into the learning process, and strengthening the links between philosophy teachers and specialized disciplines.
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Yang, Jiyong, and Xianjie Yang. "The discovery about the commonness of Six Dynasties' aesthetics of literature and art and ideological system's methodology———the traditional contexts' characteristics of philosophy and value research contained in Wen Fu, The Literary Mind and the Carving of Dragons and other literary works." In Proceedings of the 2019 5th International Conference on Humanities and Social Science Research (ICHSSR 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ichssr-19.2019.137.

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Boden, Margaret A. "Aesthetics and interactive art." In the 5th conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1056224.1056225.

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Didenko, Natalia. "Music Time: from Intonation to Style Philosophy and Aesthetic Analysis." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.49.

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Dong, Lili. "Research on Traditional Aesthetic Philosophy in the Japanese Literature." In 4th International Conference on Management Science, Education Technology, Arts, Social Science and Economics 2016. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/msetasse-16.2016.283.

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Wenting Xie and Ren Peng. "Philosophy of art & arts in philosophy." In Conceptual Design (CAID/CD). IEEE, 2008. http://dx.doi.org/10.1109/caidcd.2008.4730806.

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Aguilar Rendón, Nora Karina, Nora Morales Zaragoza, and José Luis Hernández Azpeitia. "Infographics as a tool for business agreement." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3376.

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This paper analyzes infographics as a problem solving tool to act as a medium for establishing dialog in the business context. Businness needs agreements, usually made in a written-form in a document called “brief”. The drawings, illustrations, visual narratives or infographic work can be considered a form of visual agreements for the participants. We present two case studies that consider the use of particular elements and cognitive processes involved in this visual agreement strongly connected to synthesis in dialog , memory and message clarity. By analyzing the visual languaje structure of real case infographic projects of the national housing social debt collection process (Infonavit, 2010) and the problem of child obesity (Cepol, 2012) where drawing plays a major role as a tool to communicate the operation of visual imaginery, we suggest a prominent role of drawing in the shaping process of the client´s inner topology. We introduce a preliminar analyitical framework –drawn from studies and theories like dual-coding theory (Pavios,1971), rhethoric, neurocognitive processes (Kosslyn, 1986), aesthetics and language philosophy (Goodman, 1978)– for understanding how this visual agreement denote and connote unstated viewing conventions and prioritize particular interpretations that can significantly affect the final solution. Finally we identify areas of future inquiry of new approaches on identity construction from a synthetic representation point of view.DOI: http://dx.doi.org/10.4995/IFDP.2016.3376
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Reports on the topic "Philosophy of Art and Aesthetics"

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Goetzmann, William, Elena Mamonova, and Christophe Spaenjers. The Economics of Aesthetics and Three Centuries of Art Price Records. Cambridge, MA: National Bureau of Economic Research, August 2014. http://dx.doi.org/10.3386/w20440.

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Lapolla, Kendra, Jaclyn Gordyan, and Brian Lapolla. Critiquing Design Aesthetics in Collaborative Fashion Creation: Design Conversations with a Fashion Designer, an Architect, and Art Director. Ames: Iowa State University, Digital Repository, 2014. http://dx.doi.org/10.31274/itaa_proceedings-180814-901.

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Kost’, Stepan. THE CONCEPT OF CREATIVITY IN JOURNALISM. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11092.

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The article analyzes some theoretical and practical aspects of creativity. The author shares his opinion that the concept of creativity belongs to the fundamental concepts of philosophy, psychology, literature, art, pedagogy. Creativity is one of the important concepts of the theory of journalism. The author does not agree with the extended definition of creativity. He believes that journalistic activity becomes creativity when it is free and associated with the creation and establishment of new national and universal values, with the highest intensity of intellectual and moral strength of the journalist, when journalism is a manifestation of civic position, when this activity combines professional skills and perfect literary form.The author also believes that literary skill and the skill of a journalist are not identical concepts, because literary skill is a component of journalistic skill.
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Webb, Philip, and Sarah Fletcher. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing. SAE International, November 2020. http://dx.doi.org/10.4271/epr2020024.

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This SAE EDGE™ Research Report builds a comprehensive picture of the current state-of-the-art of human-robot applications, identifying key issues to unlock the technology’s potential. It brings together views of recognized thought leaders to understand and deconstruct the myths and realities of human- robot collaboration, and how it could eventually have the impact envisaged by many. Current thinking suggests that the emerging technology of human-robot collaboration provides an ideal solution, combining the flexibility and skill of human operators with the precision, repeatability, and reliability of robots. Yet, the topic tends to generate intense reactions ranging from a “brave new future” for aircraft manufacturing and assembly, to workers living in fear of a robot invasion and lost jobs. It is widely acknowledged that the application of robotics and automation in aerospace manufacturing is significantly lower than might be expected. Reasons include product variability, size, design philosophy, and relatively low volumes. Also, the occasional reticence due to a history of past false starts plays a role too. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing goes deep into the core questions that really matter so the necessary step changes can move the industry forward.
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